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Thirty years ago American political life was all relentless,
painful, and confounding: the Tet Offensive brought new intensity
to the Vietnam War; President Lyndon Johnson would not seek
re-election; Martin Luther King, Jr. and Robert Kennedy were
assassinated; student protests rocked France; a Soviet invasion
ended "socialism with a human face" in Czechoslovakia; the Mexican
government massacred scores of peaceful demonstrators; and Richard
M. Nixon was elected president. Any one of the events of 1968 bears
claim to historical significance. Together they set off shock waves
that divided Americans into new and contending categories: hawks
and doves, old and young, feminists and chauvinists, straights and
hippies, blacks and whites, militants and moderates. As citizens
alive to their own time and as reporters responsible for making
sense of it, journalists did not stand aside from the conflicts of
1968. In their lives and in their work, they grappled with
momentous issues--war, politics, race, and protest.
The events of 1989 were the material of great reporting. They also
revealed the power of journalism. Long before people in Central and
Eastern Europe liberated themselves, they discovered democratic
freedom, putting to print their own ideas and chronicling events of
the day. Indeed, long before they had democracies in law, they had
imagined them on paper.In the Solidarity network that produced
books and leaflets and news bulletins, in the essays of Vaclav
Havel, in the samizdat publishing house in Budapest that used a
portable printing machine, Eastern Europeans demonstrated the
organic link between journalism and self-government. They showed
how journalism nurtures the imagination, dialogue, and honesty that
are basic to democratic life.If history had ended in 1989, there
would be cause for easy optimism. The changes that swept Central
and Eastern Europe passed with relatively little bloodshed. But
agonies of the former Yugoslavia, convulsions of the former Soviet
Union, and enduring battles with censors and would-be censors
bedevil emerging democracies. Not only does much remain for
journalists to cover in Central and Eastern Europe, in some places
there the fate of journalism is still an open question. For all
these reasons, Reporting the Fall of European Communism explores,
not only the events of 1989, but new stories that have emerged in
Central and Eastern Europe over the past decade. This volume will
be of interest to media professionals, academics and others with an
interest in the power of journalism.
The events of 1989 were the raw material of great reporting. They
revealed the power of journalism. Long before people in Central and
Eastern Europe liberated themselves, they discovered democratic
freedom, putting to print their own ideas and chronicling events of
the day. Indeed, long before they had democracies in law, they had
imagined them on paper.
In the Solidarity network that produced books and leaflets and
news bulletins, in the essays of Vaclav Havel, in the samizdat
publishing house in Budapest that used a portable printing machine,
Eastern Europeans demonstrated the organic link between journalism
and self-government. They showed how journalism nurtures the
imagination, dialogue, and honesty that are basic to democratic
life.
If history had ended in 1989, there would be cause for easy
optimism. The changes that swept Central and Eastern Europe passed
with relatively little bloodshed. But agonies of the former
Yugoslavia, convulsions of the former Soviet Union, and enduring
battles with censors and would-be censors bedevil emerging
democracies. Not only does much remain for journalists to cover in
Central and Eastern Europe, in some places there the fate of
journalism is still an open question. For all these reasons,
Reporting the Fall of European Communism explores, not only the
events of 1989, but new stories that have emerged in Central and
Eastern Europe over the past decade. This volume will be of
interest to media professionals, academics and others with an
interest in the power of journalism.
Thirty years ago American political life was all relentless,
painful, and confounding: the Tet Offensive brought new intensity
to the Vietnam War; President Lyndon Johnson would not seek
re-election; Martin Luther King, Jr. and Robert Kennedy were
assassinated; student protests rocked France; a Soviet invasion
ended "socialism with a human face" in Czechoslovakia; the Mexican
government massacred scores of peaceful demonstrators; and Richard
M. Nixon was elected president. Any one of the events of 1968 bears
claim to historical significance. Together they set off shock waves
that divided Americans into new and contending categories: hawks
and doves, old and young, feminists and chauvinists, straights and
hippies, blacks and whites, militants and moderates. As citizens
alive to their own time and as reporters responsible for making
sense of it, journalists did not stand aside from the conflicts of
1968. In their lives and in their work, they grappled with
momentous issues--war, politics, race, and protest.
The contributors to 1968: Year of Media Decision establish not
only what journalism meant in 1968, but also gauge the distance and
direction that news reporting has traveled since then. There are
contrasting essays by David Halberstam, a former war correspondent,
and Winant Sidle, a retired major general; former reporter and
author Jules Witcover, Jack Newfield on Robert Kennedy's final
hour, Curtis Gans on the "Dump Lyndon Johnson" campaign, Dan T.
Carter on George C. Wallace, Tom Wicker on Richard Nixon, and
Robert Shogan on the new political order. In "Race" Pamela Newkirk
discusses the origins and impact of the Kerner report. Robert
Lipsyte explores the 1968 Olympics. Robert Friedman details the
Columbia University strike, Claude-Jean Bertrand examines the
French protests, and there are essays by Mary Holland on Northern
Ireland, Madeline K. Albright on the press of the Prague Spring,
Suzanne Levine on "the bra that was never burned," and Raymundo
Riva Palacio on the Mexican media.
With the perspective of thirty years we can see that the events
of 1968, which once seemed to erupt out of nowhere, were the
consequences of powerful trends. At the same time gauging the
distance between then and now can help make it clear which
aftershocks of 1968 are with us and which collectively, have
disappeared. This volume tells us important things about not only
where journalism has been but where it is going.
First published in 1996, All the Nations Under Heaven has earned
praise and a wide readership for its unparalleled chronicle of the
role of immigrants and migrants in shaping the history and culture
of New York City. This updated edition of a classic text brings the
story of the immigrant experience in New York City up to the
present with vital new material on the city's revival as a global
metropolis with deeply rooted racial and economic inequalities. All
the Nations Under Heaven explores New York City's history through
the stories of people who moved there from countless places of
origin and indelibly marked its hybrid popular culture, its
contentious ethnic politics, and its relentlessly dynamic economy.
From Dutch settlement to the extraordinary diversity of today's
immigrants, the book chronicles successive waves of Irish, German,
Jewish, and Italian immigrants and African American and Puerto
Rican migrants, showing how immigration changes immigrants and
immigrants change the city. In a compelling narrative synthesis,
All the Nations Under Heaven considers the ongoing tensions between
inclusion and exclusion, the pursuit of justice and the reality of
inequality, and the evolving significance of race and ethnicity. In
an era when immigration, inequality, and globalization are bitterly
debated, this revised edition is a timely portrait of New York City
through the lenses of migration and immigration.
First published in 1996, All the Nations Under Heaven has earned
praise and a wide readership for its unparalleled chronicle of the
role of immigrants and migrants in shaping the history and culture
of New York City. This updated edition of a classic text brings the
story of the immigrant experience in New York City up to the
present with vital new material on the city's revival as a global
metropolis with deeply rooted racial and economic inequalities. All
the Nations Under Heaven explores New York City's history through
the stories of people who moved there from countless places of
origin and indelibly marked its hybrid popular culture, its
contentious ethnic politics, and its relentlessly dynamic economy.
From Dutch settlement to the extraordinary diversity of today's
immigrants, the book chronicles successive waves of Irish, German,
Jewish, and Italian immigrants and African American and Puerto
Rican migrants, showing how immigration changes immigrants and
immigrants change the city. In a compelling narrative synthesis,
All the Nations Under Heaven considers the ongoing tensions between
inclusion and exclusion, the pursuit of justice and the reality of
inequality, and the evolving significance of race and ethnicity. In
an era when immigration, inequality, and globalization are bitterly
debated, this revised edition is a timely portrait of New York City
through the lenses of migration and immigration.
This book reviews the state of the art for determining the "real" structure of matter. Nature does not stack atoms up in crystals in a perfect manner. Various types of "mistakes" find their way into the arrangements of atoms in real crystals. These mistakes or defects determine the physical properties of a material and understanding them is critical to predicting a new materials properties. This book reviews the principal characterisation technique permitting us to measure the defect solid state: X-ray diffraction.
This book presents 100 of the greatest paintings, pastels,
drawings, and prints by a group of artists derogatorily dubbed the
Ashcan School by the critics. George Bellows, William Glackens,
Robert Henri, George Luks, Everett Shinn, and John Sloan ignored
the romantic and lofty themes of many of their contemporaries and
chose instead to depict the dramatic changes and conflicting social
mores among the common people in turn-of-the-century New York City.
The Ashcan artists documented the city and its people in an almost
journalistic fashion, exploring the same subjects occupying the
press: immigration, the lower-middle class, and gender issues. They
portrayed life at the street level, gravitating to bars, street
corners, boxing clubs, beaches, parks, restaurants, movie theaters,
and neighborhood meeting places. In retrospect, it is difficult to
imagine the American tradition in painting without these wonderful
and moving works.
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